*திவளும் வெண்மதிபோல் திருமுகத்தரிவை *
*செழும் கடல் அமுதினில் பிறந்த *
*அவளும் நின் ஆகத்து இருப்பதும் அறிந்தும்,*
*ஆகிலும் ஆசை விடாளால்;*
*குவளை அம் கண்ணி, கொல்லி அம் பாவை --*
*சொல்லு; நின் தாள் நயந்திருந்த *
*இவளை, உன் மனத்தால் என் நினைந்து இருந்தாய்?*
*இடவெந்தை எந்தை பிரானே!*
"With a face as radiant as the moon, and born from the nectar of the
flourishing sea, Even though she knows that she is in your presence, she
remains unmoved by desire; O lord of the deep, tell me—did you, with your
heart, remember her who was adorned by your feet?"
*Explanation:*
- *"திவளும் வெண்மதிபோல் திரு முகத்து அரிவை"*: This describes someone
whose face is as luminous and beautiful as the moon.
- *"செழும் கடல் அமுதினில் பிறந்த"*: This indicates that she is born from
the nectar of the flourishing sea, metaphorically suggesting she is of
exceptional beauty and grace.
- *"அவளும் நின் ஆகத்து இருப்பதும் அறிந்தும், ஆகிலும் ஆசை விடாளால்"*:
Despite knowing that she is in your presence, she remains indifferent and
detached, not swayed by desire.
- *"குவளை அம் கண்ணி, கொல்லி அம் பாவை -- சொல்லு; நின் தாள் நயந்திருந்த"*:
The poet asks if, despite her detachment, the speaker's heart was still
moved by thoughts of her, who was once devoted and close to him.
- *"இவளை, உன் மனத்தால் என் நினைந்து இருந்தாய்?"*: The poet is
questioning if the speaker's heart, despite her apparent indifference, was
still thinking of her.
In essence, the passage reflects on the nature of affection and attachment,
exploring how a person’s feelings and memories can persist despite physical
or emotional distance. It also touches on the complexities of love and the
influence of one’s emotions on their relationships.
Tirumangai Azhwar, also known as *Tirumangai Alvar*, is one of the
most revered Alvars, the devotional poets and saints in Tamil Vaishnavism.
He is known for his deep devotion to Lord Vishnu and his significant
contributions to Tamil devotional literature. Here’s a brief overview of
his life and work:
*Life and Background*
- *Name:* Tirumangai Azhwar (also known as *Kailaya Nayanar* and *Kalimangai
Alvar*)
- *Time Period:* He is believed to have lived during the 7th to 8th
centuries CE, though exact dates vary among scholars.
- *Origin:* He was born in a village named *Thirukkurungudi* in
present-day Tamil Nadu, India. His birth name was *Kalimangai Nayanar*.
*Devotional Journey*
1.
*Early Life:* Tirumangai Azhwar was initially a wealthy chieftain and a
warrior. He was known for his wealth and valor. Despite his material
success, he felt a deep sense of spiritual emptiness.
2.
*Transformation:* His life took a transformative turn when he
encountered a Vaishnavite saint or guru. He was deeply moved by the
teachings and devotional hymns centered around Lord Vishnu. This experience
led him to renounce his worldly life and dedicate himself to the service of
Lord Vishnu.
3.
*Devotional Compositions:* Tirumangai Azhwar is celebrated for his
devotional poetry, which is collectively known as the *"Tiruvandadi"*.
His hymns, composed in Tamil, are part of the *"Naalayira Divya
Prabandham"*, a revered collection of devotional hymns dedicated to Lord
Vishnu, compiled by the Alvars.
*Literary Contributions*
- *Hymns:* Tirumangai Azhwar composed more than 1,000 hymns that are
integral to the Tamil Vaishnavite devotional tradition. His hymns are known
for their deep emotional content, rich imagery, and devotional fervor.
- *Themes:* His poetry often reflects themes of longing, devotion, and
the divine grace of Lord Vishnu. His work includes both praise and
supplication, expressing a profound sense of surrender and adoration.
*Legacy*
- *Influence:* Tirumangai Azhwar's contributions to Tamil devotional
literature have had a lasting impact on the Vaishnavite tradition in South
India. His hymns are recited and revered in temples and are integral to the
worship practices of the Sri Vaishnavism tradition.
- *Temples:* Several temples in TamilNadu are associated with Tirumangai
Azhwar, including *Tirukkurungudi*, his birthplace, where he is
venerated as a significant figure in the local devotional tradition.
Tirumangai Azhwar's life and work are celebrated for their profound
spiritual insights and their role in shaping the devotional landscape of
Tamil Nadu. His hymns continue to inspire and uplift devotees, reflecting
his deep and unwavering devotion to Lord Vishnu.
In Kaliyuga, to attain salvation, the best way is by chanting the
holy names of the Lord. Holy names have to be chanted not for the sake of
salvation but with love. Alwars have proved it. Their songs are so simple
to understand [if tamil language is known] and are equivalent to Vedas and
Upanishads. Prema and Bakthi together lead to salvation.Prema means love
which is mostly a feminine quality and Bhakti in general a male quality. In
other words, praising the qualities of the Lord is Bakthi. The first 4
alwars are not said to have had 'Nayagi Bhavam', but all other alwars have
expressed Nayaki or Nayagi Bhavam. Bhavam means assuming the form.
VAISHNAVA SAMPRADAYAM SHOWS VISHNU IS THE ONLY PURUSHA AND ALL
OTHERS ARE ONLY HIS GOPIKAS, FEMALES. Beyond the six chakras in this body,
there is a seventh chakra. The first three chakras are male chakras, the
next three are female chakras. People who practice yoga can understand this.
Men lose themselves very easily in the petty pleasures of the world. Women
exhibit a sense of poised control. Women have some initial difficulty in
crossing the first three chakras. Men can climb these chakras easily. The
fourth, fifth and sixth chakras are female chakras. This is where the Kundalini
Shakthi is present. When women cross the third chakra, they can make a leap
from the fourth chakra. Men cannot attain it so easily. That is why women
are able to get into that Bhavam very easily.
So much substance in this simple statement! It is easy to attain God when
you nurture feminine qualities. A person went to Sri Paramacharya and said,
'I am observing all rituals strictly and doing Govinda Upasana, but am not
able to see Him yet'. Paramacharya laughed, 'Dress up in a saree, assume
the character of a woman and pray to Him. You will attain Govinda very
soon'. If you assume the Nayaka-Nayaki bhava, you will reach Govinda soon.
This is not a subject for ridicule.
Paramacharya looked upon God with that bhava. Nammazhwar sought God by
imagining himself as His Nayaki. Thirumangai Azhwar assumed the
NayakiBhava. Andal, being a girl, fitted very easily into the NayakiBhava.
Did not Andal attain the Lord? All that Andal did was to look upon the Lord
as her Husband and wear the garlands meant for Him. She did not seclude
herself in the forest or do penance. She did not learn any mantras. She did
nothing, except to Love.
I pointed out a synchronization of thought between Vallalar and Andal.
Vallalar says, 'there is a house with nine gates. The thieves bribe the
watchman, find the way to enter, break the lock, extinguish the lamp and
steal the sleeping child'. Vallalar cries, 'O Lord! Are You deaf that You
cannot hear my wails of agony protesting against the theft? Are You not
bound by any doctrines of Dharma (Justice)? The thieves of worldly desires
have entered into the gates of my body by bribing the watchman called the
mind, broke open the lock of knowledge, put out the light of Wisdom and
have stolen the child called the Soul. O Lord! I am crying for You. Is it
not reaching Your Ears?' He assumed the role of a child and pleaded with
Nataraja to save his soul from being stolen by the worldly temptations. His
stand was: 'The cradle is being robbed' - 'My soul is being burgled by the
thieves called illusion'.
Andal also wept, She wept that the Lord was not stealing her bed. Vallalar
cried that the cradle was being stolen, whereas Andal protested that her
bed was not being stolen. Vallalar cried that the illusions (maya) of the
world were stealing the soul, Andal was in remorse that the Lord of those
illusions (Mayavan) was not stealing her.
What a vast difference! One is trying to prevent the theft, whereas the
other is yearning for the theft to happen. That is the bliss inlaid in the
NayakiBhava. It will not exclude anything as not required. Take on the Lord
as your Nayaka and crave for His attention like Andal did, like Meera did.
Then you will very soon attain the Ultimate. The Paramaathma is The Only
Male; all others are females. This is the philosophy of Rasa leela -
union of various jivatmas with the one and only Paramatma.
* Thus there are so many similar pasuram versions except 4 azhwars
, means 8 had sung in thee pattern of Love and Nayaki Another one:*
In this particular pathigam, AzhwAr is taking the mood/bhAvam of a thOzhi
(friend) of parAngusa nAyaki who is already married to mAyappirAn. But her
parents (unaware of this) are looking to get parAngusa nAyaki married to
someone else. At that time, parAngusa nAyaki's friend is telling her
parents that she is suspecting that parAngusa nAyaki is already married to
emperumAn based on the fact that she smells thiruthuzhAi all over her.
Let us see a beautiful pAsuram (8.9.1) from this padhigam.
anRi maRROrupAyamen? ivaLaNthanNthuzhAy kamazhthal (அன்றி மற்றோருபாயமென்?
இவளந்தண்துழாய் கமழ்தல்)
kunRa mAmanNimAda mALigaik kOlak kuzhAnGgaL malgi (குன்ற மாமணிமாட மாளிகைக்
கோலக் குழாங்கள் மல்கி)
thendhichaiththilathampurai kuttaNAttuth thiruppuliyUr (தென்திசை திலதம்
புரை குட்டநாட்டுத் திருப்புலியூர்)
NinRa mAyappirAn thiruvuLLam ivaL NErpattathE (நின்ற மாயப்பிரான்
திருவுள்ளம் இவள் நேர்பட்டதே)
Simple translation:
kutta nAttu thiruppuliyUr is described here beautifully as a place which is
filled with beautiful palaces (with lots of pearls, beads and decorations)
and is like a landmark for the southern part of bhAratha dhEsam. mAyappirAn
emperumAn who resides there has directly blessed parAngusa nAyaki to be
fully situated in emperumAn only without thinking about anything else. This
parAngusa nAyaki on which we can smell the thiruththuzhAi has no other
means other than emperumAn.
In this pAsuram, jIvAthmA's ananyArha sEshathvam (that we are only
subservient to emperumAn) is established by AzhwAr. This is explained in
the "ukAram" in praNavam.
Thus we have seen the jIvAtma swarOOpam in relation to archAvathAra
emperumAn.
K RAJARAM IRS 2924 3924
---------- Forwarded message ---------
From: Chittanandam V R <[email protected]>
Date: Mon, 2 Sept 2024 at 19:04
Subject: Fwd: Thirumangai Alvaar - Thiruvidanthai
To:
*என்ன செய்யப் போகிறாய்?*
அழகான பெண்களைப் பெற்ற தாய்மார்களின் இன்றைய கவலைகள் என்ன என்ன? அவர்களில்
பக்தியுள்ள தாய்மார்கள் பகவானிடத்தில் எப்படி வேண்டிக்கொள்வார்கள்? இவளுக்கு
என்னதான்
வைத்திருக்கிறாய், நல்ல புத்தியைக் கொடு. இப்படியெல்லாம் மனதில்
வேண்டிக்கொள்வது
சகஜமே. தாய்மார்களின் கவலைகள் நூற்றாண்டுகள் கடந்தாலும் மாறாது என்பதற்கு
உதாரணங்கள் பல பிரபந்தத்தில் உள்ளன.
சென்னையிலிருந்து மாமல்லபுரம் செல்லும் சாலையில் கோவளம் அருகில் எட்டாம்
நூற்றாண்டுக்
கோயில் உள்ளது. அதன் பெயர் திருவிடவெந்தை. சுருக்கமாக திருவிடந்தை என்று
சொல்கிறார்கள்.
மார்பில் லட்சுமிக்கு இடம் தந்த தந்தை போன்ற திருமாலின் உறைவிடம் என்று
பொருள். அதில்
லட்சுமிவராகப் பெருமாளும், அகிலவல்லி நாச்சியாரும் எழுந்தருளியுள்ளனர்.
திருமங்கையாழ்வார் இந்தக் கோயிலுக்கு வந்திருக்கிறார். பெரிய திருமொழி
இரண்டாம் பத்து
ஏழாம் திருமொழியில் பத்து அற்புதமான பாடல்கள் திருவிடவெந்தையைப்
பற்றிப் பாடியிருக்கிறார். என் மகளுக்கு என்னதான் நீ தீர்மானித்திருக்கிறாய்
என்று பகவானைப் பார்த்து ஒரு தாய் கேட்பதாகப் பாடல்கள் அமைந்துள்ளன. ஓர்
உதாரணம் பாருங்கள்.
*திவளும் வெண்மதிபோல் திரு முகத்து அரிவை *
*செழும் கடல் அமுதினில் பிறந்த *
*அவளும் நின் ஆகத்து இருப்பதும் அறிந்தும்,*
*ஆகிலும் ஆசை விடாளால்;*
*குவளை அம் கண்ணி, கொல்லி அம் பாவை --*
*சொல்லு; நின் தாள் நயந்திருந்த *
*இவளை, உன் மனத்தால் என் நினைந்து இருந்தாய்?*
*இடவெந்தை எந்தை பிரானே!*
(அரிவை - பெண், ஆகம் - மார்பு, நயந்து - விரும்பி)
சந்திரன் போல் முகத்தை உடைய இந்தப் பெண் அமுதத்தில் பிறந்த மகாலட்சுமி உன்
மார்பில்
இருப்பதை அறிந்தும் உன்மேல் ஆசையை விடவில்லை. குவளை மலர்க் கண்ணும், கொல்லிப்
பாவை போல உடலமைப்புமாக நிற்கிறாள். சொல்லு! உன்னை விரும்பும் இவளை என்ன
செய்யப்
போகிறாய் திருவிடவெந்தைப் பிரானே!
என்ன செய்வது, ஒரு என்.ஆர்.ஐ. மாப்பிள்ளை பார்த்து அமெரிக்காவுக்கு
அனுப்பிவிடட்டுமா என்று
அவர் கேட்கலாம்!
- சுஜாதா
*****************
*சித்தானந்தம் *
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